The Luteshop Blog

It might seem on the face of it to be impossible to know how people spoke 400 years ago, before the invention of sound recordings, but in fact there has been considerable research in this area and we can be pretty certain about some aspects of the way that Shakespeare or Jonson or Dowland would have pronounced their texts.

Listening to lute recordings of the last 50 years, it is rare to find any ornaments at all played in “pre-baroque” music. The consensus seems to be that it wasn’t until the 17th century that cadential trills and other kinds of ornaments became an essential part of lute playing. When playing the beautiful polyphonic music of the early 16th century,

In the previous blog I looked at historical evidence for fingering chords and some scale passages. But lute music is usually polyphonic, so how is the polyphony notated in lute tablature, and how can we best interpret it? Tablature was apparently invented at around the same time that lutenists started playing all the parts of a composition with their fingers rather than just one or two parts with a plectrum.

Many lute players today have played the guitar before starting to play the lute, and while it was obvious that right-hand technique would have to be different for the lute, to cope with double strings, lack of nails, and possibly even “thumb-inside” – it has generally been assumed that the left hand was already well trained and needed no real consideration.

Having now spent most of a lifetime making things, I reflect that I’ve been lucky to do so. In our culture we tend to distinguish people who “work with their hands” from people who “work with their brains”. Our education system has enshrined this for hundreds of years, and even now many people are fond of the idea that some children are “academic” and should go to university and study traditional subjects,

If you asked a modern lute player – any time from the revival of the lute in the early 20th century to the present day – whether their bass courses were tuned in octaves, they would probably say that they were tuned in unisons because none other than the great John Dowland himself had said that tuning in octaves was “irregular to the rules of music”.

The ML lute book, (c.1610-40) is a major source for the music of John Sturt (fl.1612-1625) and he may even have been the main scribe (apart from the formation of the letter “e” the writing of tablature, final flourishes and text are very similar to the scribe of Berlin 40461 who apparently signed his name at the end of this corant).

It is now over 500 years since the publication (on the last day of December 1508) of Dalza’s Intabulatura de lauto. It was the fourth lute book published by Petrucci, the first two being the two volumes of Spinacino and the third the (lost) book of Giovanni Maria Alemani.